Preparing for a Creative Residency

Originally published on Artist Soapbox on 8 April 2019

Greetings, Soapboxers!

Spring is springing in our neck of the woods. New growth and new opportunities are on the way and, in keeping with my January intention, I am leaning into the excitement and wonder of it all (with, let’s be real, a garnish of panic).

This spring I am participating in something brand-new to me: Creative Residencies. Wondering what the heck that is? Well, that makes two of us! Broadly speaking, a residency is an opportunity to trade in the day-to-day grind for a few days or weeks of focused, intentional time to work on your creative project. Often this involves going to a remote location.

I’m excited to share that I will be participating in residencies with Drop, Forge & Tool in Hudson, NY and the Turkey Land Cove Foundation in Edgartown, MA. Why apply for a residency? In my case, I’m developing my latest play via a long-distance collaboration. My NYC-based partner thought a residency could be a fantastic opportunity for us to be in the same place at the same time and dig into the project in a deep and meaningful way.

Personally, I thought it sounded way too good to be true and thus unlikely ever to happen. In this case I am perfectly happy to have been proven wrong. In retrospect, I’m actually grateful for my initial doubt because it allowed me to approach the applications with a nothing-to-lose, go-for-it mindset rather than letting my buddies perfectionism and comparison restrain me.

The application process involved, among other things, sharing our project and goals with the organizations. They want to know how applicants will use their time and what they will have to show for it once the residency is complete. This pushed me to think more broadly about the script and the production as a whole — what needs to happen to move it closer to reality and how can we leverage this uninterrupted time to make progress towards that?

In preparation for the residencies, my partner and I drafted a long list of goals. My mind is boggling a little bit thinking about this ambitious list. But I’m excited. Our goals are rather detailed, yes, but I feel we have left ourselves plenty of room to breathe and discover and stretch and create. Will we accomplish every item? Probably not. Will we discover things we hadn’t yet considered? Almost assuredly. In this moment, I am so grateful for the residencies’ gift of the truly precious commodity of time. I know we will make good use of it.

Residencies are available throughout the country, for all sorts of endeavors. Have you participated in a residency? We’d love to hear about it. Please drop us an email at artistsoapbox@gmail.com and share your experience.

Looking forward to reporting to you from the other side of this journey!

‘Til next time,
MT

Writing the Perfect MONKEY

Originally published on Artist Soapbox on 30 July 2018

Greetings, Soapboxers!

Earlier this month, several friends and collaborators gathered to read and hear the latest draft of my upcoming play, YEAR OF THE MONKEY. If you’ve ever put your work-in-progress up for critique, you know it is a singularly excruciating, insecurity-stoking and necessary experience. I clawed my way to that draft and now, armed with lots of helpful notes and personal revelations, it’s time to revise.

Great. I can’t stand this part.

I knew this was coming, but I’m annoyed anyway. Why am I making such a big deal out of this? I’ve got a lot of great feedback to plow into this thing but I feel angry and scared and, honestly, I have been so frustrated over this project that I have contemplated quitting several times.

Ah, perfectionism. My old friend.

At several points along the way, this project has felt like I’m using a tweezers to build a sandcastle. Thomases, by birthright, are unapologetically verbose yet I have no access to this endless supply of words. When I sit down at the keyboard, out come the tweezers. Why? Because I want it to be “right.” Because I want it to be “good.” Because I want to turn it in and never have to do it again because it took so much out of me the first time. Because perfectionism is my beast. Perfectionism would rather stop me before I start. Perfectionism would rather I edited my work and myself into non-existence rather than pick up that bucket and fill it with sloppy, wet sand.

Cue the irony.

After the script read-thru, two different people remarked that a few of the scenes felt unnecessarily short and they could tell I was editing myself. I had been so focused on cutting away anything I deemed extraneous (exposition, talkiness – bad!) that I didn’t leave enough substance to establish some of the objectives and relationships. Their advice? Haul ass and go for it. Fill up those buckets. Save the tweezers for later.

Sloppiness and precision both have their place in the process. Doesn’t sloppy sound more fun? I’m into it! At least in theory. This might be a “both/and” right now.

I know I will get to a space where I’m having more fun, feeling loose and making a joyous mess. But I also know there’s old pain at the root of the perfectionism and I want to make space for that. Pathologizing my stuckness isn’t helping me. Berating myself for not having more fun seems a tad counter-intuitive.

Maybe I’m not exactly where I’d like to be, but I am showing up. Every day. Maybe the words aren’t flowing like wine (note to self: BUY MORE WINE), but they’re coming. As I’ve told myself a thousand times, “Show up for the work and the work will show up for you.” Ugh, that sounds so smug I want to punch myself in the face.

This is eerily familiar. Perfectionism. Resistance. Finding ways to nourish yourself. Time to walk this talk.

‘Til next time, Soapboxers.
MT